DOCSLIB.ORG

Grip Wrapping on Chinese Swords and Sabers by Peter Dekker

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Grip Wrapping on Chinese Swords and Sabers by Peter Dekker Traditional grip wrapping on Chinese swords and sabers by Peter Dekker Introduction Although most methods generally look the same, there are many ways to wrap a Chinese hilt. I started out copying grip wraps as done on reproduction swords and later began to learn grip wraps as seen on various antiques. Although different styles of grip wraps all tend to look the same, they do have some fundamental differences in how they are done. I based the following method on the study of various antiques. It is one of seven different methods I’ve identified so far, the difference betwen them is mostly in where / how one starts, ends, and with what end of the cord the loops are made. This method is a pretty universal because it causes two loop ends to appear near the pommel, that nicely match fangshi (square style) fittings but look good on any other style of dao or jian. This while some other methods might not suit all styles of sword furniture. It is done from the center out, meaning you start at the middle of the cord and work your way through the wrap using both ends. There are also ways that start at one end, working towards the other. The end result on the latter is characterized by crossings within the center loop that are made up out of a horizontal and a diagonal cord, while the center based wraps result in crossings that exist out of two diagonal cords. Both ways are found on antique Chinese hilts. You can contact me for questions, or to help me improve this grip wrapping manual at: [email protected] On my part I would be happy to get to see as many original wrappings as possible, preferably from both sides of the handle. I am also looking for any information about pre-treatment of the handle prior to wrapping, like regarding the use of ray skin and for example if any type of glue was used. Type of cord For a nice grip wrap it is important to use the right cord. Typically this is all natural cord (synthetic cord is generally more slippery) made out of silk or cotton. Also make sure it has a flat braid. Most cord on modern swords is significantly wider than on the old ones. Antique one handed grips tend to take about 5 metres of per grip, using a cord that is approx. 2mm wide when tightened. Many modern one handed swords take slightly more, sometimes more than 6 metres because their grips are often a bit longer/thicker. Very accurate, natural cotton cord is available through me for € 1.50 per metre, ex. shipping. We deliver some standard colors like black, blue, brown and green plus natural ivory white that can be dyed by the user. I sometimes have special cords in stock like hand braided cotton or solk cords. Preparation Before starting I like to wrap some tape on both ends of the cords. Make sure a fairly rigid and sharp point appears, because it might come in handy later when you have to go under wrappings. (See pic below) Layout We start by laying out the two loops on either side of the handle. To do this, start in the middle of the cord and lay a loop at the pommel (pic 2). We call this side A. Lay the loop pretty much like you want it to appear on the final result, but a tad longer. The loop will tighten somewhat due to the cord going over and under. I like to tape the inner loop to the grip to keep it tight. You can tie the part at the guard as in pic 3, or let them cross as in pic 4. Both ways are traditional, but this time we go for the second way. (The first appears on what is thought to be a princely regulation saber in the collec- tion of the Metropolitan Museum of Art, while the latter way is used on one of Qianlong’s own jian.) Pic 2, side A. Y Y Y Z Z Pic 3, Side A. Pic 4, Side A. (as in Pic 2) Alternative way Note that Pic 3. is just for reference. This wrap continues with the loop on side A. closed as in pic 3. On the other side, which we call side B, one of the two cord ends forms the second loop as in pic 5. Make sure both loops are exactly the same length and width. Make sure you plan out the loops carefully, you don’t want to find out they are too long or too short right before the end of the wrap. In the worst case you’ll need to redo the whole grip wrap from scratch! In this example I don’t close the loop on this side as in pic 3, but just let them overlap as in pic 4. Z Y Pic 5, side B. Wrap From here, proceed by putting one cord end (which we call Z) through the loop on side A as de- picted in pic 6. Please note that as the other end, (which we call Y, left end in pic 6) goes around, it crosses the other on the side of the hilt. See pic 7. This is the only place where this occurs. Y Z Pic 6, side B. Pic 7, upper side B, lower side A. (Z over Y.) Then, on the other side the first of the wrapping pattern will be made, see pic 8. Proceeding to the other side another if these is made, see pic 9. Always pay attention to what cords have passed under or over the inner loop, and do the opposite for the adjacent cord in the pictures. Now you will be getting able to tie the wraps tighter, it’s best to hold it in place with your fingers (pic 10) until you finished the next wrap. Tie it as tight as you can, straighten the inner loop. Turn the handle, and re- peat. Make sure they all lie flat on the handle, and none get twisted. It’s not easy to get the first part tight while keeping it all in place, so it’s best to tie it as tight as is possible without deforming the layout and continue a few wraps. Then you can re-tighten the start a bit using a fork to pry the cord. Z Y Y Z Pic 8, side A. Pic 9, side B. Y Y Z Z Pic 10, side B. Pic 11, side B. From here the wrap will continue in the same way. What is important from now is that you keep the wrappings very tight, and that you watch out that the inner loop is corrected each time you finish a wrap. Once the wrap is done, it is possible to slightly correct the inner loop by using a fork but it’s best not to bet on this and do it right from the start instead. (There is a fair chance in damaging the cord or loosening the wrap up in an attempt to tidy it afterwards.) After a while, it should resemble the pattern on pic 11. The better you control the shape of the inner loop, the more tidy the whole wrap will look. End Once done you tuck the cord under previous wrappings, make sure you do the last ones a little looser so it’s easier to tuck the cord under and then tighten the whole. Once you got it through, tie it as tight as possible. Only when you’re sure it’s done well, cut the two ends. I also have a “secret” ending up my sleeve that makes it very hard to see where the ends have gone. I might make some pics of that process next time I do it and show it to you guys. Pic 12, side A or B. Pic 13. side A or B. There you go! I hope you enjoyed this little tutorial. Also check out: www.mandarinmansion.com www.manchuarchery.org Or drop me a line on Facebook: https://www.facebook.com/dekkerpeter Please do not alter this document in any way when sharing with others. Copyright 2006 Mandarin Mansion Peter Dekker Mandarin Mansion 8.
Load more

Recommended publications
  • Llilililj[Illlffilil[Il] Nittn
    www.morehongzhou.com fts tfir.|.l vol 7,tssuE 5, MAY201I l-{ A N GZI{OU TH EAEgTil n Great to Springint ummer HIGHFIVE PLEASEDON'T TAKE IT TOTHE EXTREME Gymand FitnessTips for Newbies NTERVIEW By Antoniodel Sexipantalones ELL The Modern CuttingEdge of AncientChinese Arts By RuebenMarley ISSN 1005-9644 HOTSPOT NEPAL- BAGKAGAIN! llilililJ[illlffiLil[il]nittn By TanSiew Yim SC(ITTR(IDELL TheModem Cutting Edge of AncientChinese Arts BY RUEBENMARLEY 've been luckyenough to sharea Thesedays everybodywants to be a teacher. coupleof hours,talking to a world- Nobodywants to be a studentany more.Scott classkung-fu master. He's also a pausesfor the briefestof moments,to convey globallyrecognized expert who specializesin the gravityof the situation,as he expresses the study of traditionalChinese swords. He's his frustrationat the lost art of craftingpracti- the Center Directorof the Great RiverTaoist cal, historicallyaccurate, Center(GRTC), which has been providingall and effective swords in 'He mannerof martialarts training to studentsliving china.when I asked explores other related in the greaterWashington D.C. areafor nearly whythis is thecase, he forms of martial artS, like terriblyuninformed 30 years.There are five other GRTC centers aroundthe world,from San Franciscoto Rus- ff#H:'ii#"il3n[: Man'chuarchery, in his spare ::,"'iffil"."*Xil: sia. He has spenta very impressiveproportion problems in the world time. He's also in search of who is seriousabout it,the sword of hislife traveling to countriesaround the world, today is that sometimes the best manUfaCtUrer Of the learning to teach,and to be taught,by martialartists from peoplejust becomeway all walksof life.He's also got about20 yearsof toosuccessfut in tisht of Chinese jian.' fi", H:t;"#:H:: Taijiquanexperience under legendarymasters their endeavors,robbing lightly,and Scott lays Wang Yen-nien,T.T.
    [Show full text]
  • Types of Chinese Swords There Are Generally Five Types of Swords in Chinese History, They Are Jian, Zhanmadao, Liuyedao, Wodao and Yanmaodao
    Types of Chinese Swords There are generally five types of swords in Chinese history, they are Jian, Zhanmadao, Liuyedao, Wodao and Yanmaodao. The jian is a double-edged straight sword used during the last 2,500 years in China. The first Chinese sources that mention the jian date to the 7th century BC during the Spring and Autumn Period;one of the earliest specimens being the Sword of Goujian. Historical one-handed versions have blades varying from 45 to 80 cm (17.7 to 31.5 inches) in length. The weight of an average sword of 70- centimeter (28-inch) blade-length would be in a range of approximately 700 to 900 grams (1.5 to 2 pounds). There are also larger two-handed versions used for training by many styles of Chinese martial arts. The zhanmadao is a saber with a single long broad blade, and a long handle suitable for two-handed use. Dating to 1072, it was used as an anti-cavalry weapon. This is mentioned in the "Wu Jing Zong Yao Song Military Manual" from 1072. Surviving examples include a sword that might resemble a nagamaki in construction; it had a wrapped handle 37 cm long making it easy to grip with two hands. The blade was 114 centimetres long and very straight with a slight curve in the last half. The liuye dao, or "willow leaf saber", is a type of Dao that was commonly used as a military sidearm for both cavalry and infantry during the Ming and Qing dynasties. This weapon features a moderate curve along the length of the blade.
    [Show full text]
  • Seminar on Japanese Swords 7 February 2005
    Tsurugi-Bashi Kendo Kai University of Cambridge Kendo Society Seminar on Japanese swords 7 February 2005 Revised proceedings Proceedings editor: Nicholas Taylor Copyright c Tsurugi Bashi 2005 http://www.cam.ac.uk/societies/kendo/ Table of Contents Preface FrankStajano....................................... ...............3 A visit to a sword polisher's workshop FrankStajano....................................... ...............4 The parts of the Japanese sword NeilHubbard........................................ ..............7 Katana and Kendo: Background and Reigi HyoWonKim.......................................... ...........9 Functional differences between European medieval and Japa- nese swords SabineBuchholz...................................... ............11 Manufacture of Japanese swords RichardBoothroyd..................................... ...........13 Zen and the Way of the Sword KristiinaJokinen................................... ...............15 Metallurgy and the Japanese Sword NicholasTaylor..................................... ..............17 2 Preface On a sunny morning in December 2004 I happened to pass by the British Museum and my attention was caught by an elegant black poster featuring a beautiful Japanese sword blade. I immediately went in and was delighted at the chance to admire a won- derful exhibition of the Museum’s magnificent collection of about a hundred Japanese blades, all recently restored in Japan. Once back in Cambridge, I set out to organize a visit to the exhibition for members of our kendo dojo, Tsurugi-Bashi. Although, as one might expect, many of our kendoka have an interest in Japanese swords, none of us is really knowledgeable, let alone an expert or collector. We therefore needed some preparation and guidance in order fully to appreciate the visit. In the spirit of encouraging people to find out more about the subject, I there- fore requested that members wishing to join the guided tour carry out a little research about some aspect of the Japanese sword, write it up as a short essay and present it to the others.
    [Show full text]
  • Folded Steel Nixon, Van Schijndel Waldrip, Saito
    Folded Steel Nixon, van Schijndel Waldrip, Saito Folded Steel: The Art of Sword Making and the Enduring Image of the Samurai Authors: Megan Saito Jonathon Waldrip Amelia Nixon Corri van Schijndel 1 Folded Steel Nixon, van Schijndel Waldrip, Saito Table of Contents Introduction ................................................................................................................................................. 3 Historical Origins: The Tokugawa Rise to Power ..................................................................................... 3 Ritual: Honor and Virtue . .......................................................................................................................... 4 Contemporary Icon: The Enduring Image of the Samurai ........................................................................ 5 Conclusion ................................................................................................................................................... 6 Works Cited ................................................................................................................................................. 7 Appendix of Images ................................................................................................................................... 13 2 Folded Steel Nixon, van Schijndel Waldrip, Saito Introduction The samurai culture is one of ancient origin and has developed a deep and intricate society throughout its existence. The samurai seemed to be at the height of their potential near
    [Show full text]
  • Seminar on Japanese Swords
    Seminar on Japanese swords Cambridge University Kendo Club 7th February 2005 Table of Contents A visit to a sword polisher’s workshop Frank Stajano ................................................... ... 2 The parts of the Japanese sword Neil Hubbard................................................... ....5 Katana and Kendo: Background and Reigi Hyo Won Kim ................................................... ... 7 Functional differences between European medieval and Japanese swords Sabine Buchholz................................................... .9 Manufacture of Japanese swords Richard Boothroyd ................................................ 11 Zen and the Way of the Sword Kristiina Jokinen .................................................. 13 Metallurgy and the Japanese Sword Nicholas Taylor................................................... .15 the previous one. This process is repeated several times References with progressively finer stones, each at its own angle. Metallurgy and the Japanese sword Each pass takes about half an hour for that short section [1] Darrell Max Craig. Iai—The art of drawing the of the sword. At each pass, the surface of the sword sword. Tuttle, 1981. ISBN 0-8048-7023-3. becomes smoother and the scratches of the later stones Nicholas Taylor [2] Leon Kapp, Hiroko Kapp and Yoshindo Yoshihara. are so fine as to be almost invisible. Looking at the The craft of the Japanese sword. Kodansha, 1987. blade between the passes reveals progressively more of February 2004 ISBN 4-7700-1298-5. the patterns in the metal. The wavy curve of the hamon starts to come out quite clearly. [3] Oscar Ratti and Adele Westbrook. Secrets of the 1 Introduction to transform from cementite to carbon is unavail- The polisher then moves to even finer abrasives: first, samurai. Tuttle, 1973. ISBN 0-8048-1684-0. able, so the cementite remains. a particularly smooth grinding stone that has been sliced [4] John M.
    [Show full text]
  • Swords and Daggers
    Swords and Daggers Swords are weapons formed by a blade (the part intended for striking) and a hilt (from which the sword is held) [Fig. 1]. While there have been swords made of wood and stone, the more predominant and effective examples have been made of some sort of metal. Bronze was used in ancient times, followed by iron and then steel. Daggers are a more primitive, much smaller weapon which share many features with the sword. As a general rule, knives have a single edge. Blade The sword’s blade can be divided between the forte (third of the blade closer to the hilt) and the foible (third of the blade closer to the tip). This refers to how much strength the wielder can put into each area of the blade when used as a lever. The part of the blade that becomes narrow and goes into the grip is called the tang [Fig. 2]. The point of balance [Fig. 3] is the sword’s center of gravity, often found on the blade very close to the hilt, and influences the handling of the weapon. The center of percussion [Fig. 3] is the area of the blade that produces the least amount of vibration when striking a target, and thus is the ideal place with which to strike. The cross-section of the blade [Fig. 4] is the shape it has when cut at the guard. The fullers, incorrectly called blood grooves in modern times, were used to reduce the weight of the blade and give it structural strength.
    [Show full text]
  • Annual Report of the Board of Regents of the Smithsonian Institution
    SECTIOlSr I. REP () K T VrON THK CONDITION AND PROGRESS OF THE U. S. NATIONAL MUSEUM DURING THE YEAR ENDING JUNE 30, 1891. G. BROWN GOODE, ASSISTANT SKCKETARY OF THK SMITHSONIAN INSTITUTION, IN CHARGE OF V. S. NATIONAL MUSEUM. SM 91, PT 2 1 KEPORT UPON S. NATIONAL MUSEUM THF CONDITION AND PROGRESS OF THE U. DURING THE YEAR ENDING JUNE BO, 1891. BY G. Brown Goode, Museum, Institution, in charge of U. S. National Assistant Secretan,, Smmsonian A.—GENERAL CONSIDEEATIONS. statement of the operations of the Before, entering upon a detailed Report, it is perhaps not Musenni during the period covered by tliis organization, and aims, in order undesirable to briefly outline its history, work now to be reported upon, as the that the true relationships of the be comprehended. outoTowth of the activities of other years, may by act of Congress m The Smithsonian Institution was established that '' all objects of art and 184G One of the provisions of the act was and all objects of natural history, of foreign and curious research, mineralogical specimens " belonging to the plants, and geological and of the Institution, to be ar- United States should be placed in the custody students. It was also pro- r-m-ed and classified so as to be available for of objects known as - the National ^dded that a miscellaneous collection accumulated in the Patent Oftice, Cabinet of Curiosities," which had beginning was thus made should be transferred to the Institution.* A which, however, was not recognized othcially for the National Museum, The various steps which under that designation until a later date.
    [Show full text]
  • Calvert Miles
    Calvert Miles Gender: Male Height: 6 ft. 4 in. Weight: 240 pounds Eyes: Brown Hair Length: Short Waist: 40 Inseam: 34 Shoe Size: 15 Physique: Athletic Coat/Dress Size: 44L Ethnicity: African American / Black Photos Film Credits The Woman in The Red Dress Riley 3 Strands of Rope Productions Assssin Origin Sky 3 Strands of Rope Productions A Violent Act (short) Sky 3 Strands of Rope Productions Sylvie Bouncer Eugene Ashe Miles away from home Officer Jones Ben Galland Ghost Recon: Wildlands Solider Josh Tessier Dolemite is my name Tough guy Craig Brewer Television Unsolved: The murders of Tupac Banger 2 Anthony Hemingway and Biggie Games people play Bryan BET/Rob Borrow Grand Hotel Stunt double Bill D'Elia Commercial Braun Football Player Lincoln Driver Generated on 09/30/2021 01:22:18 pm Page 1 of 3 Direct tv Football Player Blue Cross Blue Shield Football Player Stage Of mice and men Lennie To Gilian on her 37th birthday David Lewis The Odd Couple Oscar Madison Fabulation Guy Othello Othello Music Videos Motion Capture Guild Affiliations SAG / AFTRA Stunt Teams Stunt Skills Stunt Skills: Squibs, Martial Artist, Weapons ~ General, Motion Capture, Martial Arts: MMA, Martial Arts: Jujitsu, Low Falls 30'-Under, Martial Arts: Kung Fu, Martial Arts: Karate, Martial Arts: Tae Kwon Do, Martial Arts: Krav Maga, UFC - Pro Fighter, Martial Arts: Capoeira, Martial Arts: Eskrima, Martial Arts: Lua, Martial Arts: Judo, Martial Arts: Aikido, Martial Arts: Grappling, Martial Arts: Greco-Roman, Martial Arts: Wushu, Weapons: Sword, Weapons: Guns, Weapons:
    [Show full text]
  • Iron, Steel and Swords Script - Page 1 Huh? Because They Are So Advanced They Cannot Discover a Simple Technology?
    Iron in China I don't know a thing about iron in China. I have never been there and seen anything myself (e.g. in a museum) so all I can do is to summarize what I have read. Since Bennet Bronsons's article1) is relatively recent and rather illuminating (meaning it resonates with my own feelings or prejudices), most of what follows is based on his insights. We have met Bennet Bronson before; he also wrote the still best review about the history of wootz steel. Otherwise it is always a good idea to consult the work of Donald B. Wagner, e.g. his book "Iron and steel in ancient China" (Leiden: Brill, 1993), and what Vincent E. Pigott has to say about that book. 3) Many articles on ancient Chinese metallurgy appear to be heavily biased towards "China was always ahead by definition", and I have a problem with this kind of view. Here are some random examples from the Internet: During the Spring & Autumn Period of the Warring States Period, China invented many superior casting processes like the wrought iron technique, crude iron Advanced technique, wrought steel technique, cast iron technique, cast iron for decarburized steel technique, tempering technique and standardized iron casting technique." First, "the Warring States period is a period in ancient China following the Spring and Autumn period (771 BC - 476 BC) and concluding with the victory of the state of Qin in 221 BC, creating a unified China under the Qin Dynasty." says Wikipedia. Second, wrought iron casting techniques and so on are certainly impressive, in particular because they are oxymorons, i.e.
    [Show full text]
  • Talons and Fangs of the Eastern Han Warlords
    Talons and Fangs of the Eastern Han Warlords Yimin Lu A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of East Asian Studies University of Toronto © Copyright by Yimin Lu (2009) ii Talons and Fangs of the Eastern Han Warlords Yimin Lu, Ph. D Department of East Asian Studies University of Toronto, 2009 Abstract Warriors are a less visible topic in the study of imperial China. They did not write history, but they made new history by destroying the old. The fall of the first enduring Chinese empire, the Han, collides with the rise of its last warriors known as the “talons and fangs.” Despite some classical or deceptive myths like the Chinese ideal of bloodless victories and a culture without soldiers, the talons and fangs of the Eastern Han warlords demonstrated the full potential of military prestige in a Confucian hierarchy, the bloodcurdling reality of dynastic rivalry, as well as a romantic tradition infatuated with individual heroism. iii Table of Content： Introduction (1-22) Chapter One (23-68) The Age of Warlords 1. The Eastern Han – Three Kingdoms Transition 2. Han Military Institutions 3. Three Kingdoms Military Organizations: Adjustments and Developments 4. Han Military Aristocracy Chapter Two (69-104) The Everyday Warriors 1. Social Standing 2. Occupational Backgrounds 3. Daily Necessities 4. Military Market 5. The Soldiers’ Women: Marriage and Prostitution 6. Military Pastimes Chapter Three (105-137) Military Equipment: Physical and Mental 1. Arms and Armor 2. Military Theories, Codes of Warfare iv Chapter Four (138-173) Noble Veterans of the North 1.
    [Show full text]
  • Choosing Butterfly Swords by Jeffrey D
    Choosing Butterfly Swords By Jeffrey D. Modell, Esq. and Aaron Cantrell September 6, 2013 Many Chinese martial arts use “Butterfly Swords,” but they are the jewel of the Wing Chun system. Practitioners who reach their level of study are expected to practice intensely, thoughtfully and achieve an understanding that recursively improves their empty hand abilities. Butterfly Swords are a variety of Chinese saber with only one edge sharpened, a blade wider than that of the typical two- edged long sword and a specializeD-Guard. The single edge and wide blade categorize them firmly as “Dao” (“Do” in Cantonese), a term that commonly means knife. Below are a few different words you may want to take note of for the purposes of this article: Hudiedao – Butterfly Swords or Butterfly Knives Baat Jaam Do (& variations on spelling) – Wing Chun Butterfly Swords/Knives (Eight Slash/Cut Swords/Knives) Butterfly swords and especially Baat Jaam Do (“BJD”) are not a one size fits all item. Each style and lineage emphasizes different techniques. The swords must be designed to accommodate and facilitate those movements. Some schools require a weapon based on tradition regardless of whether or not it is appropriate for today’s usage. Individuals develop personal preferences, and each set of swords would ideally be fitted to the specific person’s body. There are a lot of low quality swords on the market. They are not, and do not behave, like the true weapons they seek to imitate. To gain proficiency and understanding of Wing Chun movements, you need BJD that have the weight and feel of the weapons your techniques are designed for.
    [Show full text]
  • Japanese Sword-Mounts in the Collections of Field Museum
    UNIVERSITY CH- ILLI NOIS LIBRARY AT URBANA-CHAMPAIGN "GKSTACKS CENTRAL CIRCULATION BOOKSTACKS material is re- The person charging this for its renewal or its return to sponsible borrowed the library from which it was on or before the Latest Date stamped below. You may be charged a minimum fee of $75.00 for each lost book. of books are reason* Theft, mutilation, ond underlining result In dismissal from for disciplinary action and may the University. TO RENEW CALL TELEPHONE CENTER, 333- 8400 URIANA-CHAMfAION UNIVERSITY OF ILLINOIS UBRAEY AT JUN 2 1 1998 APR 1 3 1998 below When renewing by phone, write new due date L162 previous due date. Publications OF FIELD MUSEUM OF NATURAL HISTORY ANTHROPOLOGICAL SERIES Volume XVI CHICAGO 1923 537310 Field Museum of Natural History Publication 216 Anthropological Series Volume XVI JAPANESE SWORD-MOUNTS IN THE COLLECTIONS OF FIELD MUSEUM BY Helen C. Gunsaulus Assistant Curator of Japanese Ethnology 61 Plates Berthold Laufer Curator of Anthropology ,9 1 %24 wwwm Field Museum of Natural History Publication 216 Anthropological Series Volume XVI JAPANESE SWORD-MOUNTS IN THE COLLECTIONS OF FIELD MUSEUM BY Helen C. Gunsaulus Assistant Curator of Japanese Ethnolog-y 61 Plates Berthold Laufer Curator of Anthropology 1923 ILU1 57Z.05 FA ~* CONTENTS Preface 5 List of Plates 7 Introduction 9 I. Early Types of Swords, Ken and Tachi. The Court —s. Sword and Its Fittings i\—~S II. The Dai-sho: Katana and Wakizashi. Small Swords and Daggers. Nomenclature of the Fittings and tv Alloys Used for Mounts on the Dai-sho 31 \ III. Tsuba of Swordsmiths and Armorers, Kanayama and Shingen Tsuba 37 IV.
    [Show full text]